#I love seeing evidence of it

[ladyelainehilfur]

Never getting over these two being best friends 🫂

[acediscowlng]

charles going "i'm aces with other people" literal seconds after he died from being murdered by his friends is absolutely fascinating, this kid's optimism and sheer determination to bullshit his way through every traumatic event he goes through and pointedly refuses to examine really knows no bounds

[outerspacetown]

inspired by this legendary post by @samberriez !

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[incorrectbuckandeddie]

Buck: I just wanted to let you all know that I have a boyfriend.

Hen: Congrats Buck!

Chimney: Wait let us guess! Does he have brown hair?

Hen: Was he in the army?

Chimney: Does his job involve rescuing people?

Hen: Does he have abs for days?

Chimney: Do we know him?

Buck: How did you two know I was dating Tommy?!

Hen and Chimney: WHAT!

[kerryweaverlesbian]

Whenever fanfiction has Dean say he hates Cas’s coat or thinks it's stupid or ugly and he wants to see Cas out of it as soon as possible I simply must disagree. He kept that thing for a whole year full of rank water. He saw Cas back in his usual getup and gotar bonar. Dean loves cartoons. He loves costumes. He loves Cas’s coat.

[wolfythewitch]

To add onto to what I mentioned about aroace stuff, I think it's just in general. sometimes I look at ships and I don't get why they like each other? Like I think it's cute but when I think about it a little bit, I don't really understand it fundamentally. That could either be a product of being aroace, raised heavily religious and conservative, or a weird concoction of all three lmao

I think this is part of the reason why my favorite pairings are usually already established/married. Otherwise I just! Don't understand

[wistfulwatcher]

#just a knight looking to her queen for approval

[egophiliac]

Have you heard of the "Crowley is Malleus' dad" theory going around? Where Prince Levan (or whatever his name is) didn't actually die and just went out to get some milk and is now known as Dire Crowley, the silly man? The implications of that theory is absolutely hilarious when you think about it

hold on, we can figure this out, we just need LISTS

PROS THAT CROWLEY IS SECRETLY REVAAN/LEVAN/LAVERNE/WHATEVER:

unspecified fae of some kind, with similar coloring to Mal

the animal masks are apparently a Briar Valley thing

has some kind of big blackmailable secret that was alluded to in episode 4, and then as far as I know never brought up again

(unless this was just Azul bullshitting, which is extremely possible)

based on Diablo, which...maybe means something?

has canonically worn Dad Shorts

CONS:

(gestures to Crowley's entire personality)

NO LISTEN Revaan was the guy they sent off on diplomatic missions and to take care of delicate political situations, and...look, I love this dweeb, but would you trust Crowley to be in charge of negotiating your war treaties

despite my brain insisting on reading his name as "Raven", Revaan's title does imply that he was also a dragon (or super into longan berries, I'm not ruling that out)

currently unclear why Lilia "my closest friend Revaan...he is no longer with us...I used to make fun of him for being kind of a priss about eating jerky..." Vanrouge has somehow not noticed or said anything

Malleus' Aloof Anime ~Aristocrat~ vibe had to come from somewhere, and by all accounts it was NOT his mom's side of the family

???:

turns into a bird in the opening, I don't know if that means anything but it's kinda cool, I guess

all that aside, if Malleus and Yuu are any indication, then the Draconias have...questionable taste in their social choices. so anything is possible!

[codacheetah]

Tell me your opinions on the stuff. Any stuff.

Grins. Smiles, even

I'm using you as an excuse to infodump my theory about the Island because I've had no in to do that, and my theory is pure opinion. Anyways:

THE ISLAND IS STUCK IN THE FUCKING FUTURE

(SCARE CHORD)

Hi so you might ask me. What the fuck do you mean by that. Well. Let's start with what we know about the Island, the King, and Wish Craft. (long ass post under cut. sorry)

The Island was redacted from the perception of outside world, via Wish Craft.

Wish Craft has the power to enable Time Craft. We see this primarily through Siffrin's timeloops, but also through the King's powers.

One of the King's powers is to show the saviors a "vision of the future."

...And this same attack is deflected back at the King by Mirabelle in ACT 5, in which the King is able to see the Island before being frozen in time.

...So. The King's "vision of the future." We're never told explicitly what this vision is. All we know is that it's apparently powerful enough to wipe the party in one hit, hearing it from a distance hurts your head, and that whatever Siffrin (and Loop) saw, they don't seem to actually be able to describe it. Even the King himself doesn't know what his vision entails.

We don't know whether the party all sees the same thing when struck by the vision, and Adrienne's answer to the question about it in the Reddit AMA is. vague? It's not a "no," and the specific wording makes me think the answer might be yes. But that's me reading into it.

Now. What do we know about the Island's redaction? The Island was affected by the wish recently, as in "like a decade ago" recently. We know that nobody in Vaugarde or the rest of the world is capable of thinking about the Island, anything closely tied to the Island's culture, or people on the Island for very long. When they do recall these things, they slip right out of reach. Particularly, the consequence for trying to think about the Island (or, more specifically, break the wish that forces the Island out of perception) is significant pain, localized in the head.

And that said pain is enough to become lethal, if pressed hard enough.

From here forward I'm running with the assumption that the King's "vision of the future" is not personalized to any individual, and is unchanging throughout the course of the whole story. Now. Remember the end of ACT 5, where the King gets hit with the deflected "vision of the future", and instead of dying, he recalls the Island and gets frozen in time? Very odd, yeah? Why wouldn't the King just die like everyone else does? He even does take 9999 damage when trying to say its name, like Siffrin does, and like the party does when they're hit by the attack.

Well. We know that he has a "true wish" that the ability to freeze Vaugarde in time grants. I don't think it's at all a stretch to guess that the King's "true wish" is to be able to remember the Island. My personal guess is that the King (and Siffrin) brought this "true wish" into effect via the "SAY ITS NAME" sequence- he even tries three times, a significant number in wishing.

The King (and Siffrin's) wish breaks, because it can't be fulfilled in this moment without breaking the wish to prevent the Island from being thought about. However. Consider the conditions at the end of ACT 5- the King sees the vision of the future reflected back to him, and what he sees is the Island. He remembers the Island, fulfilling his own wish, and is frozen in time. I consider this a compromise between his wish and the one binding the Island- the King gets to remember the Island, but nobody alive is able to think about it, because he's frozen in time; it's like the Universe is correcting itself (I WILL GET BACK TO THIS). The wish of all of Vaugarde to defeat the King is fulfilled, since he is no longer a threat, and Siffrin's wish wraps itself up soon after.

MY POINT BEING. The King's attack is a vision of the future. This "future" is of the Island, in some uncorrupted state. The saviors see it when he attacks them, and he sees it when it is deflected back to him.

The logical next question is "okay, so the Island exists in the future, but how do you know time shenanigans are even related to the Island?"

Recall a very odd series of interactions throughout the game, in which you try to interact with a piece of equipment that you already own.

The game rewinds slightly, before the item disappears, as the Universe corrects itself.

This is awfully similar to two particular events: looping back without seeing the death screen, and talking to the Daydreaming One about her sister. The latter is more interesting to me for the purposes of this theory.

In both instances, something is misaligned within the Universe (an item existing in two places, someone remembering something they're not supposed to) and it is corrected through some sort of rewind. Also compare the dialogue above to when you try to give Mirabelle the Stylish Bow when you already own it.

The world glitches, but Siffrin defuses the situation before the Universe has to intervene. Omitted from the screenshot is the fact that Mirabelle's portraits switch to happy from "catastrophically anxious" with no transition after Siffrin shows her where the bow is. Important to note is that when Mirabelle tries to recall receiving the bow, her head hurts, much like how trying to break the Island wish causes a headache.

The Universe leads you away from perception, and you can only follow.

My theory that I keep circling around is that through Wish Craft, the Island has been displaced temporally. The denizens of the Island, as well as the Island itself, still exist, but they are in the future. The Island is still loaded into the world, like how equipment is before you try to interact with it, and the Island cannot leave this quantum state, because it never actually went anywhere. The magnitude of the redaction event is so severe with the Island, because it is so much larger as an entity than a sword or a bow. There are of course things I don't really have pieced together, like why somebody would wish the Island into the future, how far into the future it is, or why equipment behaves this way. But it's the only Island theory I've seen that I have some level of confidence in, so I might as well lay out my cards for it.

[shrugsinchinese]

Wulf doodle page! The implications of other people carrying through a wizard’s Wish, considering that he’s both a wizard and follower of the Raven Queen, just thought that it would be an interesting mix between the Fate Divine and Choices Arcane.

[canisalbus]

I have to ask what drew vasco into falling in love with machete?

His snivelling runt ways were just that irresistable.

[poorly-drawn-mdzs]

Peeped the horrors

[First] Prev <–-> Next

[sonicaspeed123]

If u enjoy sonic the hedgehog in any capacity and dont already know this then PLEAAASE listen to me

"Everything is canon" does NOT mean "All one continuity"

There is no one definitive "true version" here. Does Sonic have parents? Yeah sometimes. Sometimes not. Is Sonic chatty and extroverted or reserved and introverted? Well are we talking about Prime!Sonic or X!Sonic? They're very different people.

To me, this is the fun part about Sonic - seeing the same characters in different situations and seeing them grow and react differently according to their experiences. (AU fan brainrot a little, sue me)

If you see people getting annoyed or confused about others "mixing" continuities, that's why. It's been established for a loooong time, hell since the very beginning (look up sega of america's "Sonic Bible" from back in the day) that there are stories which are separate and very different utilizing the same familiar characters. "Everything is canon" means "Your favorite version of Sonic is just as valid as any other." It means multiverse theory wjdndjqbxkxn

-⚡️ & 🧭

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[casualavocados]

im gonna break down my last gifset: the second half of the ep12 intimacy scene, because nat and louis are such good actors ive been rendered slightly braindead more than once due to how well they SOLD this scene and SOLD ai di and chen yi's love for each other through their physicality.

WARNING: if you read this and then use the words top or bottom to describe anything going on here, i will deadass block you. ♥️ don't even think about it. ♥️

this is gonna be unhinged but the mix of horny and pure adoring each other is an ever-crisscrossing line that is simply underappreciated from what ive seen in previous posts of this particular part.

so they've been making out for a while with ai di in chen yi's lap and chen yi decides to push them over… i did not cut a single frame of this btw.

starting with the first two gifs:

i love the way ai di's hand comes to rest perfectly at the nape of chen yi's neck during the impact. then there's a brief "are we gonna kiss?" half of a second before chen yi goes for ai di's neck. and ai di responds appreciatively: with his head tilted back, his hand in chen yi's hair… you see in the second gif his fingers curling a little, to gently trail his nails down chen yi's neck, wordlessly telling chen yi to keep going. and he does, moving from ai di's neck to his chest.

and here we get a moment of ai di going oh. his mouth literally opens a little wider—

—and he lifts up his head as if to check that that's really chen yi doing this to him. all the while his hand has moved from chen yi's neck/hair to rubbing chen yi's shoulder. again in a reassuring "yes that's good" way, and also, i imagine, just for the sake of touching chen yi too.

he looks at chen yi and then full body relaxes into feeling it, while still rubbing chen yi's shoulder. i cant get over ai di's face here, i can't. the whole shot is art, with chen yi kissing just below his ribs.

bc chen yi is so focused on adoring him, on pouring all this love he has for ai di into these gentle kisses and the way he's touching him, too: sliding his hand up ai di's chest to grip his shoulder in return. (also notice ai di's sweatshirt from four years ago hanging up in the background. chen yi has been waiting so long for this too and needs to show it.)

and then— WELL. then ai di slides his hand back up into chen yi's hair…

and chen yi responds to the feeling of it immediately. it's almost like ai di is saying yes, that's good, now come here, and you see chen yi's eyes open and his body immediately follow that cue. perfect wordless communication. ai di's hand is literally pulling him closer (with barely any pressure) and chen yi instinctively responds to it by making his way back up with another soft kiss.

and ai di is watching him, waiting for him. chen yi's hand is sliding along ai di's chest again… you even see ai di's legs open a little at the end of the gif to make room for chen yi to take that space again.

and chen yi does. he really does:

and he does that on purpose. (it's like he's responding to ai di's satisfaction by saying, "let me make it feel even better". while also saying "i love you this much".)

and ai di responds by intentionally adjusting himself to feel more of it:

chen yi moves back from the neck kiss and ai di really said with his body: no, don't you dare take that pressure away.

there is so much going on in those two gifs. starting with the former: you can see ai di leaning back for the neck kiss, and then his hand moves down to chen yi's hip the instant he feels the pressure between his legs, in such a perfectly instinctive movement you can literally see his fingers tighten in chen yi's hair and his toes curl at the edge of the gif. he is completely 100% feeling it. he lifts his head to look.

—& i can't get over the way ai di is always trying to see, to watch chen yi doing this to him. it's chen yi. he has to make sure it's real. he has waited for and wanted this for so long and he isnt dreaming anymore.

and then in the latter: ai di tilts his head back again a little before his shift. his very intentional shifting of hips that physically lifts his back from the bed a little to align them more comfortably and to keep the friction. this movement stops chen yi from kissing ai di's neck again, bringing him to his mouth instead— but not until after ai di's hand on the back of chen yi's neck slides down to cup his cheek. (as if this whole gif says, not only "yes, that feels good, don't stop", but also, "i need you to know i love you".)

they kiss like that: pressed together, looking at each other, ai di cradling chen yi's face with one of his hands. you can see his thumb holding the base of chen yi's jaw in the next gif:

while chen yi in turn pulls his arm out from underneath ai di to prop (only) his chest up a bit higher for the express purpose of just looking at ai di. feeling ai di touching him like this, too. both of them gentle and needy, adoring and eager; all of that fully communicated through their body language.

there is not an inch of them that isnt feeling this moment and isnt completely tuned in to both themselves and the other. it's so intimate and vulnerable and so intentional. and the fact that they are taking their time, always looking at each other, is what makes it so loving and sweet and is also exactly what makes it so hot.

it's chen yi's turn now to check that this is real. to soak this all in and breathe. that's ai di beneath him. against him. loving him.

and it takes a full gif but ai di allows maybe 2 seconds more of looking at each other before reaching up and pulling chen yi into a deeper kiss. he's waited for this for so long—

although first you see ai di's eyes flick down and back up. and let me tell you— he's not looking at chen yi's lips.

chen yi's hand perfectly supports the back of ai di's head and neck as ai di surges up to wrap chen yi in his arms—cup the nape of chen yi's neck in his fingers—pulling himself up and chen yi closer in the same movement.

and this is when and why the camera pans away. because those kisses are getting deeper. they are locked in, they're attached, they are feeling all of it, everything is intentional and loving and very clear about where this scene will be going next.

i just— this is a lot, for me. because it is so intensely loving. and also so intensely horny. like, i've seen some good sex scenes, but it takes some really incredible acting to pull off seeming so fully, devotedly, in love, and be able to show that alongside and through attraction. personally? i haven't seen any bl actors do it better than nat and louis in this scene right here. please notice, as well, that all thirteen of these gifs are of one, continuous, shot.

simply put, it's a very. very. well done scene. AND I NEED TO CHEW DRYWALL.

(final note: a reminder of my warning at the start of this post bc i am serious. there are too many infinitesimal things happening in this scene for these characters to be reduced to stereotypes that, frankly, do not matter in real life. ♥️ no need to respond to this warning either… feel free to focus on what the post is saying instead.)

and that's why chen yi and ai di are better and more real than every other bl couple in existence. ok bye.